944 resultados para Drama, German.
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The focus of this qualiquantitative research is the phenomenon we are denominating Drama-of-Rio-Grande-do-Norte, which contemplates short verse texts from the oral tradition, sung and presented on stage by women in communities on the south coast of the northeastern Brazilian State, Rio Grande do Norte. This tradition harkens to the medieval romance of the Iberian Peninsula (CASCUDO, 2001; GURGEL, 1999; GALVÃO, 1993; MAGALHÃES, 1973; ROMERO,1977). The objective of this research is to: identify what characterizes the genre Drama of Rio Grande do Norte; situate this genre within a systemization of genres from the oral tradition in Rio Grande do Norte; investigate the interpersonal relationships of power and solidarity through the role of the women in the discourse, how they see themselves and others, pointing out which elements of the world they evaluate and to identify representations of the feminine in the discourse. The theory of Genre and Register of Martin and Rose (2008) and Generic Structure Potential of Hasan (1989, 1996), which has as a base the Systemic Functional Linguistics of Halliday and Matthiessen (2004), Eggins (1994) among others, offers a theoretical framework for the characterization of the genre through the identification of stages and phases configuring its typology the individual schematic structure and its topology its relation to other phenomena in the oral tradition. Other groupings were mapped of the ‗Macrogenre , from the model of Martin and Rose (2008) as a continuum on two axis: between the poles of how the genre circulates orally x in writing, and recited/individually x staged/collectively; as well as mapping the samples with relation to power using the same model, but with the poles of individual voice x collective voice on an axis between increased power and diminished power. Eleven texts described as Narratives and one Anecdote were selected for the analysis of Attitudes, and Negotiations of power. Through the quantification of semantic discursive resources in the discourse systems of Appraisal (MARTIN; WHITE, 2005) and of Negotiation (MARTIN; ROSE, 2007), as well as reflections about humor (EGGINS; SLADE, 1997) we identified the Attitudes and the Negotiations of interpersonal roles. The quantification is based on the theories of Corpus Linguistics (BERBER SARDINHA, 2010), using WordSmith Tools 5.0 (SCOTT, 2010). Our results show that the Drama-of-Rio-Grande-do-Norte is characterized as a Macrogenre in the Community of Oral Stories, in the Family of Street Theatre/Games, composed of five genre types: Narratives, Praise, Complaints, Anecdotes, and Exemplum. The Macrogenre is characterized by its being circulated orally, staged collectively and the texts analyzed configure in differing degrees of power between men and woman. In synthesis we observe that through humor, the Drama-of-Rio-Grande-do-Norte functions to offer a space for women to voice, comment, judge and orient about social conditions in their communities, such as alcoholism, domestic violence, inequalities before the law etc., as well as circulating positive appreciations of rural/coastal culture and judgments about the behavior of members of the speech community, the role of women being to establish and reinforce norms. We anticipate possible benefits of the addition of the genre analyzed in literacy projects in the schools of Rio Grande do Norte
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The analysis of alcoholic beverages for the important carcinogenic contaminant ethyl carbamate is very time-consuming and expensive. Due to possible matrix interferences, sample cleanup using diatomaceous earth (Extrelut) column is required prior to gas chromatographic and mass spectrometric measurement. A limiting step in this process is the rotary evaporation of the eluate containing the analyte in organic solvents, which is currently conducted manually and requires approximately 20-30 min per sample. This paper introduces the use of a parallel evaporation device for ethyl carbamate analysis, which allows for the simultaneous evaporation of 12 samples to a specified residual volume without manual intervention. A more efficient and, less expensive analysis is therefore possible. The method validation showed no differences between the fully-automated parallel evaporation and the manual operation. The applicability was proven by analyzing authentic spirit samples from Germany, Canada and Brazil. It is interesting to note that Brazilian cachacas had a relatively high incidence for ethyl carbamate contamination (55% of all samples were above 0.15 mg/l), which may be of public health relevance and requires further evaluation.
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This study investigated kinematic patterns in clinically normal German Shepherd dogs (GSDs) compared to those with hip dysplasia and with no clinical signs of lameness. Two groups of GSDs, including 10 clinically healthy dogs (G1) and 10 with hip dysplasia (G2), were trotted on a treadmill at a constant speed. Kinematic data were collected by a 3-camera system and analysed by a motion-analysis program. Flexion and extension joint angles and angular velocities were determined for the shoulder, elbow, carpal, hip, stifle, and tarsal joints.Within each group, the differences between the right and left limbs in all kinematic variables were not significant. Minimum angle, angular displacement and minimum angular velocity did not differ between groups. Significant differences were observed in the maximum angular velocity and maximum angle of the hip joint (dysplastic. >. healthy), and in the maximum angular velocity of the carpal joint (healthy. >. dysplastic). It was concluded that, when trotting on a treadmill, dysplastic dogs with no signs of lameness may present joint kinematic alterations in the hind as well as the forelimbs. © 2012 Elsevier Ltd.
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Pós-graduação em Filosofia - FFC
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Includes bibliography
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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As proeminentes edificações da cidade de Belém foram revestidas durante o século 19 com azulejos produzidos em Portugal e Alemanha que já apresentam distintos graus de degradação. O Palacete Pinho é uma das mais importantes destas edificações e foi selecionado para se investigar a ação do clima tropical amazônico sobre a degradação destes azulejos. Para atingir estes objetivos mapearam-se os azulejos desta edificação visando identificar as modificações de origem orgânica e inorgânica e coletas de amostras para análises. Os minerais foram determinados por DRX, a composição química por métodos clássicos úmidos e MEV/SED e os micro-organismos por microscopia. Os resultados obtidos mostram que os azulejos Portugueses e Alemães são distintos entre si. Enquanto o biscoito é composto de SiO2 e Al2O3, CaO foi encontrado apenas nos Portugueses. Os baixos conteúdos de Na2O e K2O indicam adição de materiais para redução da temperatura de fusão. SiO2 e PbO compõem o vidrado, já CoO e FeO foram adicionados como pigmentos. O biscoito dos azulejos Alemães é constituído de quartzo, mullita e cristobalita, ao contrário do Português com quartzo, gehlenita, diopsídio, calcita e feldspatos. Os vidrados são amorfos ao DRX. As diferenças químicas e mineralógicas entre os azulejos Portugueses e Alemães indicam que foram produzidos por matéria prima distinta, bem como processo termal. As alterações relacionadas com o intemperismo são as finas camadas de detritos (nos Alemães), manchas de oxidação, manchas escuras, descolamento do azulejo (no Português); perda de vidrado e biscoito tornando-se pulverulento como consequência do estabelecimento de Cyanophyta e bacillariophyta (Português). As distintas feições de degradação dos azulejos refletem as suas diferenças mineralógicas e químicas expostas ao clima tropical Amazônico.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
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This work analyzes the consequences of the intersection between the two spheres polis and oikos. It does so by examining themes present in three plays: Medea, Agamemnon and Lysistrata. The focus of the analysis is the way in which the feminine characters react to conflicts of interests in their respective situations. To fully comprehend which values correspond to which mentioned institution, the work also necessarily investigates the socialization and functions of both genders in fifth-century Athenian society. The analysis of the feminine condition in the creation myth implies the importance of the misogynistic sense of that time, which culminated in the silencing, discrediting, and systemic repression of females. The role of women in society, instilled in all girls starting in early childhood, is to succeed in marriage and domestic permanence. This lies opposite the masculine role, which was focused outside of the family center and to environments relating to war and public life. Matrimony and family, traditional female values, were threatened when overlapping with male interests, such as unavoidable war or social ascension through a different matrimonial bond. Therefore, it is possible to affirm that the opposition evident in the definitions male vs. female indicates that, in certain contexts, the interests of each element cause the conflicts present in the chosen plays
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The volumes in The Critical Reception of Beethoven's Compositions by His German Contemporaries bring to light contemporary perceptions of Beethoven's music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven's music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, have been compiled from German-language periodicals published between 1783 and 1830. They present a wide spectrum of insights into the perceptions that Beethoven's contemporaries had of his monumental music. This is the second in a projected four-volume series. It begins with Opus 55, the Eroica, and ends with Opus 72, Fidelio.